Priscilla Queen of the Desert
CTC
Loughborough Town Hall
January 24th 2018

Priscilla has ended. I have had a wonderful night at the Town Hall in Loughborough where CTC have done a marvellous job with this great musical. The show’s Director and Choreographer, Michael Gamble, and his fantastic cast have shown that an amateur group can be as good as the professionals.

I have seen this show 5 times professionally and can say with confidence that this production was up with the best of them. The three main characters were brilliant - Ashley Bright (Tick/ Mitzi), Nick Sutcliffe (Bernadette), Craig Butterworth(Adam/Felicia).

They were extremely well supported by Duncan Gadsby(Bob), Jack Hardy (Miss Understanding/Young Bernadette), Anita Benson(Shirley), Louise Smith (Marion), Hannah Osgood(Cynthia), Oliver Pinchess/ Finn Sibson (Benji).

There was a very hard working ensemble who sang and danced with fantastic enthusiasm. There was no doubt that they were enjoying every moment on stage.

Belting out many a fine Standard were the four outstanding Divas - Lucy Banks, Lucy Maden, Anka Palmer and Hannah Parker. They not only sounded great but looked it too in a variety of splendid dresses and costumes.

The costumes play a large part in the show and just consider this. There were 196 costumes, 20 wigs, 94 hats and headdresses plus many different shoes, boots, heels and eye masks, over 60 of them. There were many extremely quick changes which were very well executed. Colourful bright and imaginative describes them.

Sound and lighting was good.

At the end of the show when the whole cast were assembled on the stage the effect was stunning. Incidentally I loved the finale.

The band was great directed by Vicki Hing who I am sure has worked very hard with the cast as well.

I will mention more in my full review later in the week.

If you haven’t got a ticket then I am very sorry as you will be missing an outstanding production. I understand that the rest of the week is sold out so if you can find someone with a ticket I would offer them lots of money for it!! Yes the show is that good.

There was a whole theatre standing ovation at the end which was so richly deserved.

Thank you, CTC for making my night and setting the bar so high for the rest of 2018. I will be surprised if I see anything better this year.

Priscilla is a wonderful show full of great songs, a very funny script, larger than life colourful characters and is an inspiration to us all. CTC in their usual way made it their own tonight and added yet another superb performance to their long list of memorable productions.

The Importance of Being Earnest
People’s Theatre Company
Nottingham Arts Theatre
Thursday March 29th 2018

This “trivial comedy for serious people,” as Oscar Wilde put it, has been delighting audiences for well over 100 years and the reasons for its enduring popularity are plain for all to see in this excellent production by the People’s Theatre Company at the Nottingham Arts Theatre.

The Importance of Being Earnest is the most renowned of Oscar Wilde’s comedies. It’s the story of two bachelors, John ‘Jack’ Worthing and Algernon ‘Algy’ Moncrieff, who create alter egos named Ernest to escape their tiresome lives. They attempt to win the hearts of two women who, conveniently, claim to only love men called Ernest. The pair struggle to keep up with their own stories and become tangled in a tale of deception, disguise and misadventure. The elaborate plot ridicules Victorian sensibilities with some of the best loved, and most memorably witty, characters to be found on the stage.

In this cleverly directed production by Beth Hinchliffe there are excellent performances from the cast, led by Rob Goll in the part of Jack Worthing. He is a wonderful actor, who I last saw in the annual PTC Pantomime, in the role of a villain. In this part he again shows us how versatile he is. He brings a roguish charm to Jack, delivered with excellent comic timing, perfect diction and a wonderfully clear stage voice, making for a thoroughly engaging performance. This is well complemented by Steve Mitchell’s lovely performance as the mischievous Algernon, who shows not only how he can deliver perfectly pitched characterisation and clear vocals, but also how to eat large amounts of cucumber sandwiches and muffins - in a ‘non agitated manner’ - at the same time! Both actors make the most of Wilde’s beautifully written comic lines and must have worked very hard with the director to establish meaning and judge their delivery so well.

There are also very good performances from Lauren Hegarty as a feisty but charmingly dignified Gwendolen Fairfax and Courtney Kelham-Giddy as the comically fluffy, but not too naïve, Cecily. Both actors make the most of their parts and have clearly thought about the physicality and bearing of their characters, as well as their vocal delivery. They wring every bit of fun out of their parts, especially in their scenes together, which are a delight.

Gill Cook is a splendid Lady Augusta Bracknell, bringing just the right amount of hauteur and disdain to the role, cleverly coupled with an occasional lapse into the vernacular, to give us a hint of Augusta’s less than aristocratic origins. Her delivery of the iconic exclamation ‘a handbag???’ and other deliciously comic lines leave nothing to be desired and brought smiles to all.

Barbara Benner makes a delightfully prim and well measured Miss Prism, and Robert Suttle is an affable and splendidly delivered Canon Chasuble. Jayde Ann Crouch and John Gill, as the servants Lane and Merriman, bring skilful dry humour to their roles, fully acknowledging the potential for reactive fun that is implicit in their lines.

All the cast bring thoughtful characterisations to their roles: both they and the director must be congratulated for delving so thoroughly into the text, to bring it to life so vividly.

The set, costumes, props and furniture are appropriate and functional and the lighting and sound are well controlled. From Cecily’s demure white lace dress, Jack’s silver cigarette case and mock mourning attire, to real tea served in delicate china cups against a lush garden backdrop, everything has been carefully chosen to establish character and set the scenes. Well done to John Gill (Costumes, Hair and Makeup), Evie Hughes (Set Designer), Vernon Lloyd (Sound), Mary Lobley, Cat Day, Marie Rogers (Props and Furniture).

The director, Beth Hinchcliffe, has worked imaginatively with this talented ensemble to ensure that a play written in the 19th century comes alive and becomes accessible to today’s audience. There were a few young children in the theatre last night, whose attention appeared to have been maintained throughout the 3 Acts. That is praise indeed!

This is a very good, pacey and thoroughly entertaining production of a beautifully written play, which keeps the attention of the audience throughout.

Footloose
Kristian Thomas Company
Duchess Theatre
April 4th 2018

Footloose is a show I have seen a number of times, but this production by The Kristian Thomas Company was certainly the best. It is a fresh, dynamic and fast moving show with excellent direction by Alysha Gomes and stylish and exciting choreography by Kristian Cunningham.

The story is a simple one of a city boy, Ren, who moves to a country town where singing and dancing have been banned, following an accident in which a group of local teenagers were killed. He is determined to change things, especially after becoming involved with the local preacher's daughter, Ariel. One of the teenagers who was killed was the preacher's son and he is equally determined that the town should remain untouched by 'the endless chant of pornography'.

Alongside this main plot line there are others involving teenage romance, growing up, friendship and bullying.

There are some great songs in the show, including the theme song Footloose, Holding Out for a Hero, Let's Hear it for the Boy and Somebody's Eyes. There is something here for everyone musically: rousing foot tapping tunes and big chorus numbers, alongside melodious ballads.

The part of Ren is played superbly by Tom Simpson, a young actor with huge talent. He certainly has what is known in the business as 'The Triple Threat': he can act, sing and dance to a very high standard. From the very first scene he dominates the stage and really inhabits the role. His portrayal of Ren is nuanced: both amusingly laid back, yet also thoughtful and sensitive and at times, joyously rebellious.

Shannon O'Donnell is excellent as the pastor's daughter, Ariel. She has a lovely singing voice and her duet with Tom, "Almost Paradise" is a joy to listen to; she is also a talented actor and dancer. She shows the journey of a suppressed, but rebellious and offhand teenager who is desperate to escape, to one who is able face her demons and look forward to the future.

Both Shannon and Tom have invested an enormous amount into their roles and deliver captivating performances. The story they tell, alongside the rest of the cast, is thoroughly engaging: there is never a dull moment in this show.

Willard, the slow but lovable cowboy, is played to great effect by Joe Millward, who I last saw as Will Parker in Oklahoma. He is a great actor, whose comic timing is perfect and he is an expressive singer and versatile dancer. He particularly comes into his own in the second Act, where he gets the chance to really showcase his talents in the song and dance routine "Mama Said." Well done also, to the other guys in this fantastic routine - Tom Simpson, Lucas Young, Benito Preite and Alistair Berry - a brilliantly choreographed number that they must have worked so hard to perfect.

Jack Draper is very impressive as the bad boy Chuck Cranston. He has the swagger, the threat and the barely controlled menace of this delinquent character.

I really enjoyed the excellent performances of Ariel's friends, Rusty (Beth Denham), Urleen (Anna Cousins) and Wendy-Jo (Shona Manderson). All three have incredible voices - strong and confident - and very natural American accents. Each girl must have worked hard to establish their characters in both their vocal expression and their movement. Beth's solo number 'Let's hear it for the boy' was a triumph, not only sung fabulously well, but choreographed to be a thoroughly entertaining scene.

Phil Stanley's characterisation of Pastor Shaw Moore is deeply engaging: depicting a man who is a strong and highly regarded leader of the community, yet paralysed by grief and unable to maintain proper relationships within his family. From rousing church scenes to tortured family ones, resolving in a very moving scene of catharsis and the beautiful song "I Confess", Phil gives a riveting performance.

Deborah McPhearson plays Shaw's long suffering wife Vi: her quietly impassioned plea to her husband - followed by a lovely rendition of "Can You Find It In Your Heart"- was excellent.

As always, it is great to see Carrie-Anne Corner on stage, this time playing the part of Ren's Mum, Ethel. Another lovely and thoroughly convincing performance from this popular local actor.

There is also a very hard-working ensemble, although given their excellent individual performances, I am not sure that is the right word to use for these talented and very important cast members. They are:

Alison Bond, Alistair Berry, Andrew Buxton, Claire Collishaw, Danielle Stanley, Emily May Corner, Benito Preite, Laura Powell, Lucas Young, Lydia Thacker, Mia Slack and Sinead Parkin. A very well done to all.

The overall quality of dancing in this show is absolutely incredible throughout and of a very high standard from the whole cast. The routines that Kristian has devised are not always easy, but the cast have perfected them and make them appear effortless. For much of the time it was difficult to believe that this is, in the main, a young amateur cast: the power and energy of the routines is a joy to watch. Hours of rehearsal must have gone into what we saw tonight and the obvious professional expertise of Kristian and Tom, plus the imaginative vision of Alysha, has made it all very worthwhile.

The staging of the show and the simple set is enhanced by the often complicated but effective lighting by Stephen Greatorex and the efficient way in which props and scenery were changed. The Stage Manager Rob Corner and his team of Dominic Murray and Thomas James Martin are to be congratulated for this.

I really liked the sound from the three-piece band conducted by the Musical Director, Tom Bond. I thought this was just right both for the production and for the theatre. Large orchestras can sometimes be a problem at the Duchess as there is no pit, but this band accompanied the cast very well and sounded fantastic. The vocal standard of this cast is extremely high and Tom must have worked very hard with the cast to achieve this. The band was comprised of Matt Henderson (Keyboard), Jeff Widdowson (Bass Guitar) and Tom Bond (Drums).

The sound was excellent thanks to Harry Greatorex: I could hear every word both during the songs and the dialogue.

I know that this is a group who are hard on themselves and want nothing short of perfection: working so intensely may mean that they cannot appreciate the impact the show will have on those seeing it for the first time. Well, it's sensational. The production team should be bursting with pride at what they and their talented cast have achieved.

The prolonged and enthusiastic ovation at the end of the show said it all. We all had a great evening watching what must now be one of the premier theatre groups in the East Midlands. I am certainly looking forward to their future shows and if you can get a ticket for this one before it closes on Saturday night, do so - but tickets are likely to be in short supply.

Blackadder Goes Forth 
Encore Performing Arts 
The Space 
Nottingham High School for Girls 
April 9th 2018

Before any amateur production of a play or musical it might be appropriate to remember the words of Captain Edmund Blackadder when he said:

“We’re in the stickiest situation since Sticky the stick insect got stuck on a sticky bun.”

However, in tonight’s production of Blackadder Goes Forth by Encore Performing Arts, the cast were never in a “sticky situation” in any shape or form. It was rather more like, “‘Well, tally ho! With a bing and a bong and a buzz buzz buzz!’ Goodness knows what that means, but let’s just say it means the production was excellent.

Blackadder was one of my favourite TV comedies, all series of which have become classics. I have to say that the fourth series, set during World War 1, was not really my favourite - the medieval series was, but tonight’s stage version certainly reconnected me with some of the best scripts of them all. It also combined wit and comedy with pathos and emotion. It is very appropriate that Encore should have chosen this year, the 100th anniversary of the end of the first world war, to produce the 4th series on the stage.

It’s a challenge to take on the production and presentation of a well loved TV show, particularly when many of the audience will be used to the characterisations of the actors who made the parts their own. Encore have risen to this challenge and given us a faithful recreation of the show, but with imaginative staging and some character interpretations all of their own. The result is a very entertaining evening of comedy with some well played dramatic and at times solemn, undertones.

The producers Adam Guest, Sam Griffiths and the Director Emily Cook decided to use four of the episodes, including the final one in which Blackadder and the rest had to go “over the top”: a particularly sad and hard hitting story.

As I have come to expect, Encore have gathered together a very talented group of actors who recreated the very familiar characters on stage in a brilliant way.

John Michael Lowe as Captain Edmund Blackadder has perfected an air of detached superiority and manages to convey just how much disdain the character has for everybody around him. Some initial tension last night soon resolved to allow him to make the most of his brilliantly witty lines and irresistibly dry humour.

David Hurt makes an excellent Baldrick, becoming slow footed, slow witted, eager to please and completely devoid of intelligence, but thoroughly engaging and very amusing. David has found a bearing and gait, plus a convincing accent, that enable him to totally inhabit the character.

Lovable George, the upper class twit, is played with earnest intensity by Christopher Mundy, giving us a character who is not just laughably naïve and very, very wet, but vulnerable and touching, too. It’s probably George, with his evocative memories of home and of being the last tiddly-winking leap frogger of 1914, who gets us thinking the most.

Graham Buchanan as Sir Anthony Cecil Hogmanay Melchett, commands the stage as well as the unit, a brilliant characterisation with excellent diction, occasionally interspersed with a very convincing ‘baaaah!’ He is a big arrogant buffoon who provides a lot of comedy, but Graham manages to convey just how close to complete insanity both the character and the actions he takes, are.

Captain Darling is played really well by Chris Read: just the right amount of obsequious behaviour towards the General and barely disguised hatred for Blackadder, all conveyed through his balanced delivery.

Lovely cameo parts throughout this piece, including a splendid firing squad, led by Adam Guest as a relentlessly cheerful Corporal Jones. Other supporting roles are: Emily Fox (Private Bob), Adam Guest (Corporal Jones & Field Marshal Haig), George Johnson (Private Perkins), Bertie Black (Private Fraser) & Jack Readyhoof (Private Tipperwick).

Emily Cook shows what a good director she is: obviously using a number of “cunning plans” to get the best out of all her actors. She manages quickly changing scenes very well with the help of the lighting and sound plots, which were devised by Richard Heappey, plus efficient and speedy set changes by the Stage Manager Molly Shawcroft. The props and the set were really effective, evocative and realistic.

Blackadder Goes Forth is yet another very professional production from Encore, which will not disappoint Blackadder fans and those who just like first class comedy. The brilliant scripts by Richard Curtis and Ben Elton stand on their own, but the excellent way in which they are delivered by the cast ensure that they provide the necessary quality to make this production a very enjoyable experience. The cast used the scripts to develop their characters rather than relying on the TV’s original actors, which I think was very sensible and worked well.

On the whole this isn’t laugh out loud stuff, it’s comic allusions, silly characters and absurd juxtapositions - the wry smiles and waves of giggles from the audience showed how much it was appreciated.

The final episode in which the inevitable call to “go over the top”, was full of great comic lines in true Blackadder style but was also incredibly moving and poignant. I think the cast and the director should be very proud of what they achieved in all the episodes but in particular, the final one.

Do not miss this outstanding production at the Space which continues until Saturday.

A final quote from Edmund sums up as only he could the First World War:“We’ve been sitting here since Christmas 1914, during which time millions of men have died, and we’ve moved no further than an asthmatic ant with heavy shopping.”

Spamalot 
National Tour 
Derby Theatre 
April 17th 2018

I have seen this show many times and loved it from the first time I saw it many years ago, at the Palace Theatre in London; this production from Sellador is definitely fresh and new. The staging and script have been tweaked with some new routines and up to date references, adding even more fun and laughter for the audience. All the performances tonight were excellent, showing professionals at the top of their game, doing justice to a great piece of musical comedy.

At the start the smallish cast and rather simple set might have suggested that this was to be a cut down version of the show, but this soon proved to be far from the case.

For those who haven't seen this crazy show, it tells the tale of King Arthur and his Knights of the Round Table as they search for the Holy Grail, in a very silly, but extremely creative and entertaining way. It mocks musicals, has a bizarre story, includes fish dancers from Finland, horse riders with no visible horses, the Knights who Say 'Ni!', an ever-defiant Black Knight, a killer rabbit, a male heroine in a tower and much more. It has an entertaining script, well crafted songs and energetic dance routines.

All the great Eric Idle and John Du Prez songs are there, including Always Look On The Bright Side of Life, The Song That Goes Like This, The Knights of the Round Table and a cleverly rewritten version of 'You Won't Succeed In Showbiz'.

There were fine performances tonight from Bob Harms as King Arthur, Rhys Owen as his loyal servant Patsy, and Sarah Harlington as the Lady of The Lake, all who provide strong vocal performances, as well as very effective comic timing. They were brilliantly supported by the Knights played by Norton James as Sir Galahad, Johnathan Tweedie as Sir Lancelot, Marc Akinfolarin as Sir Bedevere, Stephen Arden as Sir Robin (Resident Director as well) plus Matthew Pennington as Prince Herbert, Shane McDaid as Head Minstrel/ Dance Captain.

The very hard-working ensemble was polished and performed with energy and enthusiasm: many of them also have small cameo roles. They are Shane McDaid, Grace Eccle, Gleanne Purcell Brown, Joel Benedict and Ryan Limb; their dancing is excellent. The choreography is impressive: choreographer Ashley Nottingham has done a brilliant job at both set piece dances and knockabout routines.

The versatile and appropriate set by Sara Perks adds to the comedy and is enhanced by clever lighting by David W Kidd; the sound by Chris Bogg is crystal clear, I could hear every word. The musical standard is high: the 4 piece band directed by Dean McDermott produces a sound which is much more powerful than you might expect. Both the set and the richly varied costumes are changed very quickly and efficiently.

The show's director, Daniel Buckroyd, has produced a fast moving, slick show which is very funny with great music and an up to date and fresh feel. I can recommend it to all lovers of good musical comedy - whether you are a Monty Python fan or not - it's a feel good, laugh out loud extravaganza which is not to be missed.

Boogie Nights
Heanor Musical Theatre Company
The Palace Theatre Mansfield
April 19th 2018

"Boogie Nights" is a "jukebox musical" and like many the story comes second to the music. That in itself isn't a bad thing when the musical soundtrack is as good as this.

The musical tells the story of Roddy, a Jack-the-lad, whose life of birds, booze and boogie is about to be turned upside down. He is busy dreaming of life as a rock star! Debs, his girlfriend, has her own thoughts... basically that Roddy's a selfish, arrogant, horrible, unfeeling, rude, heartless pig! But the truth is that Roddy is in love with Debs, and Debs is in love with Roddy, but Debs knows that her Roddy has more than a roving eye… Through all their tears and laughter - can they both find what they are truly searching for?

This story is then held together by the 18 or so well known songs of the 70s and 80s.

There are strong performances from Tom Lucking as Roddie and Katie Ward as Debs. None of the characters are particularly engaging, as they are written as caricatures - there to represent some of the crasser attitudes of the time, but Tom manages to engage the audience with his bad boy persona and amuse many. He sings well and this was particularly evident during the brilliant Sorry Seems to be the Hardest Word.

Katie is a good actress and she has a lovely voice; she does justice to all the songs. Particular highlights are her rendition of I Will Survive and a powerful duet with Lorraine (Adela Green). Lorraine is the only female character who is afforded any strength by the writing, she gives us a glimpse of female liberation and even coins a popular phrase of the time ‘male chauvinist pig’. They are well represented in this piece! Adela’s excellent vocals are a real strength, her voice is powerful and pure.

Gemma Blake is thoroughly convincing as the lively and sweet natured Trish; another vocal highlight is her very entertaining I Lost My Heart to a Starship Trooper.

Adam Carpenter is the rather dim but pleasant Terry – he has this character nailed and gives a polished performance. Paul Mills is the old rocker Spencer, some great vocals and a very convincing line in bully boy chauvinist, he had the audience booing at times!

Also in the principal line-up is Kheenan Jones as the sympathetic DJ Dean and Roger Bode as Eamon, who gave a strong and evocative performance of Always on My Mind.

The hard working ensemble is made up of Simon Ward - who also did a sterling job as warm up man - Jennifer Richardson, Suzy Meeson, Brett Waller, Lucy Stokes, Al Tandy, Lydia Fry, Annie Glansford-Wragg, Sabine Bensley, Catherine Baker and Reema Udeshi.

The live orchestra, under the direction of Lisa Mills sounded very good indeed and were used cleverly by the director as part of club action at points.

From the very first scene in the disco it was obvious that lighting was going to play a major part in creating the atmosphere for the show. The lighting plot by Paul Young was very well done. He was also the technical director of the show.

The costumes by Alana Moran and Katie Gaskin are bright and colourful and there is quite a variety, ranging from psychedelic minis to sparkly catsuits and flared trousers. A lot of research must have gone into making these look authentic. Those of us with memories of wearing the same are now shaking our heads in disbelief that we ever thought we looked good!

The choreography is well planned and appropriately lively – the scope for disco routines is well developed by Laura -Jane Jacobs – and the cast have worked hard on their boogie moves.

Although there is a story to Boogie Nights it is the oh so familiar music that keeps it moving. Songs such as "You Sexy Thing", "Celebration", "Disco Inferno", "YMCA", "Can You Feel It", "The Hustle", "Sugar Baby Love", "Lady Marmalade", "I Will Survive", "Don't Go Breaking My Heart", "Play that Funky Music" as well as some nice 70's ballads "Sorry Seems To be The Hardest Word", "If You Leave Me Now", "Yesterday Once More" and "Always On My Mind".

"Boogie Nights" requires a cast with some considerable energy to make it work, plus of course, some of the best music from the 70's and 80's. This relatively small cast managed to show boundless energy and great enthusiasm throughout the whole show.

The Director, Patricia Church and her assistant, Ben Sherwin are to be congratulated for ensuring that the production was energetic and delivered with unashamed delight in both the great music, the coarseness and the comedy. Some lack of pace in delivery and scene starts was evident at times, doubtless temporary, due to it being first night.

Tonight’s audience showed their appreciation with good responses throughout and a sustained ovation at the end; many were standing to join in with the excellent finale of hit tunes.

The Best Little Whorehouse in Texas 
CTC Presents
Loughborough Town Hall
May 1st 2018

The Best Little Whorehouse in Texas was written by Larry L. King and Peter Masterson and has music and lyrics by Carol Hall. It is based on a story by King that was inspired by the real-life Chicken Ranch in La Grange, Texas.

The whorehouse ranch was known as 'the chicken ranch', because they often accepted chickens in lieu of payment. It was sort of accepted by the local community until 1973 when it was forced to close due to the actions of sensationalist journalist Marvin Zindler.

The show has a number of adult themes, but deals with them in a sensitive way, making them acceptable in the context of a comedy musical. There is some crude language, but this is in the context of the story.

The show is full of great one liners, is well written and full of energy and excitement. It was very successful on Broadway and was made into a film starring Dolly Parton & Burt Reynolds. It has some good musical numbers which I was unfamiliar with, but they are easy to listen to and very appropriate for the action. I particularly liked "Hard Candy Christmas" sung beautifully by the girls and the "Aggie Song" sung with considerable power by the football boys. The final song "The Bus from Amarillo" sung by Miss Mona is very poignant and the way Julie sang it was beautiful and moving.

Miss Mona manages the ranch and is played brilliantly by Julie Easter. She is an accomplished actor and singer and is totally believable in the part. She sang her songs in a way that is very entertaining and easy on the ear. Mona's right hand lady, Jewel, is played delightfully by Gemma Farnell; I particularly enjoyed her rendition of '24 hours of loving."

The two outsiders, Angel and Shy, were both well cast and played with great charm and confidence by Holly Easter and Sophie Draycott respectively. I thought that Sophie's transformation from the innocent ingenue to one of the working girls was particularly well done.

Jeremy Malpas as the Sheriff is outstanding, showing the depth and feeling of the character who was caught between his interest in keeping the whorehouse going and his duty to obey the State Governor.

David Perkin's excellent characterisation of the over -zealous investigative reporter Melvin P Thorpe was a joy to watch. He combined humour with an implied and subtly contained nastiness. He sings and moves wholly in character and his costumes are very appropriate.

Anita Benson plays Doatsey Mae Grimes, the seemingly quiet innocent waitress of the local diner, who gave an excellent rendition of her song of "Missed Opportunities."

The other principals, Duncan Gadsby (Governor), Carl Unwin (Bandleader) and Guy Benson (Senator Wingworth + others) were all well understood and delivered.

They were very well supported by a strong cast of minor characters and a very hardworking and talented ensemble.

Ian Lee-Bennett (C J Scuggs), Laurie Trott (Miss Wulla Jean), Hannah Osgood (Linda-Lou), Anja Palmer (Ginger), Vicky Mee (Dawn), Lucy Maden (Ruby Rae), Hannah Parker (Eloise), Bobbie Da'Bell (Beatrice), Hayley Farnell (Taddy Jo), Frankie Johnson (Durla), Lucy Banks, Ash Bright, Craig Butterworth, Jordan Cope, Helen Donnelly, Carl Edwards, Jeremiah Gaillard, Jack Hardy, Alex Hudson, Alix Johnston, Sarah Lorimer, Amy McMurray, Julie Robinson, Jayne Sanderson, Mel Swift, Harry Walford.

I thought that the costumes and wigs supplied by a number of organisations and individuals were first class, as was the set supplied by Scenic Projects.

The excellent lighting plot really helped with establishing scene locations and atmosphere. Well done to the lighting designer, Robert Bridges. The sound was just right for the production. I'm sure that the technical challenges of the show are considerable but, both the sound and lighting crews made it all look easy. The stage crew managed the scene changes quickly and invisibly. The Stage Manager Adrian Wray and his crew were very professional indeed and must have worked very hard.

The band sounded terrific, giving exactly the right support and volume for the show. There was a high level of musicality and some impressive harmonies. Well done Musical Director, Vicki Hing. She obviously has worked very hard with the cast enabling them to achieve the very high standards.

Director and choreographer Michael Gamble, assisted by Ashley Bright, delivered a really entertaining and high-quality show. They make good use of the stage and all the available entrances and exits. The performers all give of their all with their characterisations, accents and importantly, ensuring that the fast pace of the show is maintained throughout. The dance routines are lovely to watch and of a very good standard.

This is yet another excellent production from CTC presents which I enjoyed very much. Yes, at times the show is a little crude, but it is all done "in the best possible taste," to quote the late Kenny Everett. I can certainly recommend the show, but would suggest that it may not be suitable for the youngest theatre goers. The Company have in my view, correctly put an advisory age of 16+

Top Hat
Carlton Operatic Society
Theatre Royal, Nottingham
May 29th 2018

In this day and age "there may be trouble ahead", but at the Theatre Royal this week "there's music and moonlight and love and romance", so lets' just "face the music and dance" …

Once again Carlton Operatic Society has proved they are at the top of their game, by producing an excellent show.

Although Top Hat is a very old musical comedy, it has words and music by the wonderful Irving Berlin, so it is full of great well known songs including Cheek to Cheek, Top Hat, White Tie & Tails, Let's Face the Music & Dance and Puttin' on the Ritz.

Like many musicals of it time, the story is a little thin to say the least: it is about song and dance man Jerry Travers, who is in London to appear in a show, produced by his friend Horace Hardwick. He stays in Horace's suite the night before the show opens and becomes enamoured with the woman in the suite below, Dale Tremont. Due to a mix-up, Dale believes that Jerry is Horace. The only problem is that Horace is married to her friend Madge and Dale decides to teach him a lesson. After much singing and dancing, they eventually sort it all out, much to the delight of everyone.

It was of course, originally a smash movie hit for Fred Astaire and Ginger Rogers, and brings to life the colour, glamour and glitz of 1930s, with dazzling costumes and captivating tap dances. This has been transferred to the stage in this production, which was a box office success in the West End, starring Tom Chambers.

In this production there are excellent performances from the principals and the large ensemble cast.

Playing the part of Dale Tremont is the incredibly talented Abby Wells. From the moment she first appeared on stage it was obvious that her performance was going to be of a professional standard. She has a lovely powerful voice, is a fine actor and dances with flair and considerable expertise. She brings suitable glamour to the role, coupled with a lively delivery that brings the character to life.

She works well with the highly accomplished Jonathan Allen who played the part of Jerry Travers. It is not easy to compete with the original Jerry - Fred Astaire - but he has no difficulty stamping his own considerable talent on the role. The part is demanding: lots of singing, dancing and dialogue and Jonathan makes it all look easy.

Graham Ward is a splendid Horace Hardwick. He is a very competent comedy actor who has a wonderful singing voice and he brings a bumbling charm to the role. Pity that the part does not involve him in much singing until the Finale!

Sarah Walker-Smith (Madge Hardwick) is excellent as a singer and a very funny comic actor. She had some wonderful one liners and her delivery is perfect; Madge is a self assured grand dame with an unashamed eye to the main chance and Sarah plays her with a knowing and engaging twinkle.

Drew Dennis is the extravagant and colourful Italian dress designer, Alberto, and is to be congratulated both for his accent and delivery and the excellent, very amusing performance of "Latins Know How".

Well known actor and singer, Matt Wesson is delightful in the role of the butler, Bates. He makes the most of the part, showing how versatile he is, having to play several different characters and deliver some beautifully accented and amusing asides.

There are super costumes and well-choreographed dance routines by Rachael Rees. An enormous amount of work must have gone into not just creating the dances, but teaching them to the cast and getting them perfected. There are so many dance styles in the show and most of the cast are involved; I particularly liked the Piccolino routine. There was a lot of very precise tap dancing and the "tappers" certainly showed how good they were, along with Jonathan Allen in the final number of Act 1, the iconic, "Top Hat, White Tie and Tails."

The Orchestra, conducted by Christopher Rees sounded excellent throughout. The musical standard of both orchestra and performers is very high. Chris' experience and undoubted ability as a Musical Director was always apparent and as a consequence, ensemble and principal numbers were strong, tuneful and good to listen to.The set is almost identical to the one I saw in the London Production and very evocative of the time in which the action takes place. The show itself requires a lot of fairly quick and sometimes short scenes which presents the backstage team with some considerable challenges. On the whole these were well overcome by Ian McCarthy and Dave Guy (Theatre Royal) and the Society's Stage Crew.

The lighting is appropriate and adds to the glamour and the sound is crystal clear. Really good to have the orchestra in the pit, providing a very supportive accompaniment for the cast on stage. No over dominance at all.Carlton have once again shown what a wonderful society they are. The Director, Ross Lowe, has certainly brought to life a colourful and imaginative vision with this large cast. I particularly liked the way he used the ensemble to populate scenes in a vibrant and natural way. There was a wonderful depth of talent on stage tonight and overall this was a very good production. There were great singing and dancing performances from the principals and the ensemble who certainly danced their socks off - sometimes "Cheek to Cheek".

Despite this show basically being "nostalgic nonsense", with dated stereotypes and some cringe inducing male/female banter, the music is glorious and the performances are terrific.

Do come and see it if you can - you will most certainly not regret it and you will definitely come out singing "Isn't this a lovely day."

The Wizard of Oz
Centre Stage Theatre Arts
Derby Theatre -
June 22nd 2018

"Somewhere over the rainbow" is one of the most iconic songs of the movies and when Ruth Adshead, playing, Dorothy, began to sing it I knew we were in for a terrific show. Standing in front of a Black and White projection of clouds and surrounded by plainly clothed members of the cast she produced an excellent performance of the song giving it just the right amount of expression with a sweet voice. This first scene was in black and white in the film and the atmosphere created by the scene here was reminiscent of that.

When the storm comes, and Dorothy is whisked away from Kansas to the magical world of Oz things change and the stage is soon filled with brightly coloured performers of all ages who soon showed they could sing and dance very well indeed. This performance of the show was by the Chellaston Branch of this popular drama school and must be the largest cast I have seen on a local stage for a long time.

The Principal players were excellent performers and they played their parts with confidence and expertise. There were so many great performances but because of the weight of their roles I will first mention Ruth Adshead (Dorothy), Bailey West (Scarecrow), Luke Preston-Davies (Tin Man), Marcus Bush (Lion), Hannah Riley (Glinda), Emma Merret (The Wicked Witch) and Izaac Drew (Oz). All of these young actors have a very high level of performance and superb characterisations which they maintain throughout what is a rather lengthy show, particularly for youngsters.

There were also very good performances from Amber Lord (Aunt Em), Matthew Carrington (Uncle Henry) and Cassidy Muchangi (The Castle Guard).

They were very well supported by the rest of the Ensemble cast many of whom played small parts including physical drama involving props and scenery.

I was particularly impressed by the standard of the dancing throughout. This was very evident in the big set piece items such as The Munchkin Sequence, Poppies (which was beautiful as well), The Merry Old Land of Oz and the stunning Jitterbug. The Dance Troupe of Rebekah Neale, Katie Ringer, Alice Pounder, Holly Brownhill, Mariam Kanu, Maiya Bowles, Emmy Jones, Evie Mulcahy, Ciara Mulcahy and Amy Brownhill are to be congratulated for some excellent performances.

Anna Michelle's Choreography was very impressive and ideally suited for the cast and was of a very high standard. I particularly like the tap routine which is very well executed by those who were involved.

There were also some lovely junior dancers too namely, Kira West, Meghan O'Reilly, Ruby Stanley, Mia Rollerson, Alicia Bennett and Abbie Rai.

This show has a number of small but important cameo roles that are well performed by Holly Burchell (Crow), Erin Straw (Crow), Mariam Kanu (Crow), Alice Proudler (Tree), Emmy Jones (Tree), Rebekah Neale (Tree), Amy Brownhill (Niko), Jessica McNicol and Freya Jones (Head of Winkies), Aardash Jaganathan (The Munchkin Mayor), Alina Vegad (The Munchkin Barrister) and Ananya Jayaram (The Munchkin Coroner).

There was also some good puppetry from Holly Burchell who operated the very cute dog, Toto.

This is a fast moving and complex show with so many other parts needing to be played as well as the large ensemble pieces. One of the strengths of this performance is the way in which such a large cast used the large Derby Theatre stage. The Director, Bethany Bennett not only had to cope with this but also with a large cast of all ages. She did a brilliant job and I was very impressed with the staging which was dynamic and exciting throughout. All the performers were given plenty to do and they obviously knew exactly where to be and came onto the stage with no fuss or confusion. All the scenes were set up very quickly and the show as a consequence moved at a very good pace.

The ensemble was also very hard working and did very well. Well done to:

Maiya Bowles, Amy Brownhill, Holly Brownhill, Holly Burchell, Matthew Carrington, Megan Frisby, Bethan Hall, Jasmine Harrison, Emmy Jones, Freya Jones, Mariam Kanu, Daisy Mason, Jessica McNicol, Ria Mistry, Cassidy Muchangi, Ciara Mulcahy, Evie Mulcahy, Rebekah Neale, Alice Proudler, Katie Ringer, Jess Stephenson, Evie Rudd, James Spink, Erin Straw, Nathan Wilson, Alytheia Abraham, Lucas Andres, Alicia Bennett, Isaac Bennett, Poppy Bidder, Bella Brown, Abigail Clifton, Emma Clifton, Maddison Cocker, Lucy Cripps, Eisha Dhillon, Aadarsh Jagannathan, Anirudh Jagannathan, Anya Patel, Abbie Rai, Dillon Rai, Dinuli Rodrigo, Ananya Jayaram, Urvika Jayaram, MeghanO'Reilly, Mia Rollerson, Aria Sal, Lavanya Selvapandian, Elif Sever, Alfie Simpson, Ruby Stanley, Harry Thomas, Amy Tucker, Alina Vegad, Armaan Vegad, Emily Walker, Grace Walker, Kira West.

The Musical Director, Bethany Davis Taylor not only ensured that the singing throughout was of a good standard but conducted a band that sounded great. It accompanied the performers well and also had to play incidental music which I am sure was quite difficult at times although they made it sound easy.

This was indeed a mammoth production which must have been a challenge to the whole production team including the Producer and Principal of Central, Lucy Cadney. However, it all worked well, and I am sure she would be the first to say that the key to this is a superb back stage team. It was obvious what a good job they all do. The Costumes were fabulous, the scenery and props were changed speedily, the lighting was superb and the sound clear.

The show ended with a very well-designed Finale (very important are Finales) and this was greeted by a sustained ovation with many standing. There is no doubt in my mind that this show and all involved deserved the praise they got. Well done to you all - a night at Derby Theatre to remember.

A Bunch of Amateurs
Duchess Theatre,
Long Eaton.
June 23rd 2018

The meaning of the word “amateur” is “for the love of” and “A Bunch of Amateurs,” was certainly in line with that definition, both in terms of the script and the excellent performances.

The Play, written by Ian Hislop and Nick Newman, is a comedy about an American actor, Jefferson Steel, who mistakes the village of Stratford in Suffolk for the Bard's birthplace; instead of performing alongside the likes of Judi Dench and Anthony Sher, he finds himself in a sleepy village working with “A Bunch of Amateurs.”

There are some very funny and clever one liners during the course of the play and it is enhanced by the use of some well known Shakespearian verse. Without giving away any of the plot, I can say that by the end of the play the real reason for “amateurs” performing in theatres is made quite clear.

The excellent cast work very hard and as a consequence have produced a quality production. There are very good characterisations from them and they make good use of the composite set designed by Rachel Bates. Scene changes are well managed by the cast and stage crew.

Rachel’s direction is tight and her attention to detail is evident throughout: real food, drink, a newspaper and even a fully operational iPad, add effective realism.

A play set almost entirely in old converted barn could feel claustrophobic, but it’s not at all. The director has given the audience ample opportunity to fill in the gaps – we can easily imagine the tired decoration of the rectory where Jefferson Steel has to board, the walk through the village to the barn and his drunken meltdown on the village green. This is achieved not just by the writing, but by the placing of minimal extra scenery and the clever use of entrances and exits. It’s satisfying to take part in the creation of the world in which a play is set: this one credits its audience with the ability to do that, adding to our enjoyment.

Lizzie O’Hara is thoroughly convincing as Dorothy and has wonderful diction and expression, an all-round brilliant performance. The character is arty and bookish, with a gentle wit that is expressed through her wry observations of those around her. She is also shown to have passion for more than just the arts as the play develops, and Lizzie shows all these character traits in a very engaging way; she is a joy to watch.

Mary is played by Samantha Badman, who states in the programme that she enjoyed developing the physicality of her character to express her personality. This is very evident in her characterisation and she has acquired the bearing and gait of someone much older than herself to add credibility. She makes the most of the lovely touches of humour that the writers have given her, with warmth and excellent comic timing.

A bravura performance from Dan Bates as Jefferson Steel: a role that although challenging, must have been tremendous fun to perfect. He certainly has perfected every aspect of this character: great accent, movie star swagger, infuriating self belief and hugely entertaining arrogance. Dan dominates the stage and he is never less than believable, as he reluctantly moves towards developing some humility and empathy.

Other principal performances show an equally high standard of acting ability in this ensemble production, everyone has obviously worked very hard with the director to understand their characters and fully inhabit their roles.

Martin Hilton as Nigel Dewsbury is spot on as the frustrated thespian who takes any chance to belittle the leading man; he has some lovely laconic one liners and, last night, inserted a jovial piece of adlibbing.

Denis Dobbin, played by Phil Whitaker, who has completely mastered the local accent, is an engaging and easy going character who becomes a one man ‘entourage’ to great comic effect, especially when driving a ‘limousine’.

Jessica, Jefferson’s daughter, played by Frances Pearson is a delightful character, who manages to put her father in his place, without appearing too unpleasant. She has some very funny yet acerbic one liners and makes the most of these; the chemistry between her and her father, although tainted by his past indiscretions, is apparent. The actors must have worked hard to achieve this.

Lauren Bell as Jenni Wright must also have worked very hard with Dan Bates to achieve a lovely set piece which involves some very ‘hands on’ action, needing careful choreography! Jenni is a gentle and, at the beginning, an underplayed character, but she comes into her own and finds a new focus in the world of amateur dramatics, which Lauren ably expresses.

The sound and lighting by Dave Martin is well managed and the use of split stage lighting during scene changes is effective. During many of these changes “The Fool” played by a wonderfully bemused Celia Billau, sings some songs adapted from the text of King Lear, by Liz Turner. These became more and more obscure as the play proceeded much to the delight of the audience. Amy Cannon, Mike Evans & Bob Baron provided ensemble support throughout.

The costumes are for the most part modern dress, in stark contrast to the very attractive costumes used for the performance of King Lear at the end. Well done to Mina Machin and other members of the company.

The audience gave the cast a well-deserved and enthusiastic ovation at the end.

I enjoyed the play and getting a glimpse into a sleepy Sussex village and its local dramatic society, plus the added bonus of some excerpts from Shakespeare. These were performed with an admirable clarity and may be a direction this group would like to take in the future!

Nottingham Operatic Society
Friday November 2nd, 2018

This was an amazing production at the Theatre Royal this afternoon. It was fast and exciting, and the cast of the Nottingham Operatic Society were obviously enjoying every minute of it as I was.

Visually it was stunning with bright and colourful costumes of all styles. It did not conform to the traditional bible costumes but was never the less very suitable and fitted well with the story telling genre of the show. (Rita Prince).

There was a large cast representing a wide age group which worked very well.

The lighting (Tom Mowat) was a very important part of this production and it brought the relatively simple dual staircase set to life. The large and multi-coloured pyramid shape at the back of the set was very impressive. Stage management was very good with incredibly quick changes of set and props (Amy Rogers-Gee). This meant that the production moved very quickly.

The sound (Michael Donoghue) was excellent and all the singing was clearly heard in concert with the excellent orchestra conducted by Morwen Harrison.

The cast worked very hard throughout and produced a very high standard of singing and dancing. The Director, Dave Partridge and his assistant Julie Hayes had worked very hard with the cast to produce such quality along with the MD Morven Harrison and Musical Consultant Stephen Williams.

This show has its principal players, of course, but overall it is very much reliant on the ensemble. This ensemble, which included adults and a youth ensemble, was very dynamic, hardworking and professional throughout. I liked the way the director had combined informality with carefully choreographed movement and dance.

There was, I felt, a very positive feel to the show and the performers really enjoyed what was happening on stage and were totally engaged throughout.

There was a very strong principal cast led at this performance by Zak Charlesworth (Joseph) and Kate Williams (Narrator). Both were quite superb, sang beautifully and gave thoroughly professional performances. (At some other performances the roles were played by Mark Coffey-Bainbridge and Louise Grantham).

Joseph's brothers gave powerful singing and dancing performances. Well done to Paul Johnson, Shaun Hanrahan, Nick Smith, Ray Mcleod, James Ellison, Neil Ledward, Joe Spoors, Jarrod Makin, Antony Watson, Andrew Rushton and Conor Larkin. As an aside I am impressed that the company were able to assemble such a complete and talented group of men for these parts - it is not always possible these days.

The other main roles which were very well performed were played by Simon Theobald (Jacob), Dan Armstrong (Pharaoh), Ian Pottage (Potiphar), Joanne Lale (Mrs Potiphar), James Ellison (Butler) and Joe Butler (Baker).

The rest of the cast playing wives, ensemble roles and the youth ensemble are also to be commended for their professional performances. (I will try and mention everyone in later edits of these notes.)

This production was stunning in many ways and certainly deserved the standing ovation from many in the audience at the end.

This was the best production I have seen on the amateur stage and I applaud the Nottingham Operatic Society for producing such a professional looking show. It certainly deserves to be sold out for the rest of the run.

Blithe Spirit
Greasley Players
November 18th

Blithe Spirit has ended and I am very impressed by what I have seen tonight.

The play is a long one and needs to move at a fast pace in order to keep the interest of the audience. There are some brilliantly witty and pithy lines from the pen of Noel Coward, which need to be clearly heard and appropriately expressed. Tonight the producer, Pat Samuels and her excellent cast achieved all of these things - good pace, clear diction and well pitched expression.

There was some excellent acting in the play from Helen Smith (Edith), Deborah Porter-Walker(Ruth), Mark Anderson (Charles), Andrew Plumb(Dr. Broadman), Lindy Whittaker (Mrs Broadman), Katrine Hockenhall (Madame Arcati), Rhionna Holland-Glen(Elvira) and Isobel Mason (voice of Daphne).

All of the principals must have worked hard with the director to understand their characters and decide upon the nuances of their delivery. From the chirpiness of the maid, through the plummy and laconic tones of the Condomines, to the earnest excitement of Madame Acarti, all created believable, engaging and amusing characters. There was some very accomplished acting on stage tonight.

I was also very impressed by the set changes that were executed by the maids, fitting in naturally with the action. Time changes were suggested by variations in light and by refreshing the drinks and flowers: subtle but effective. During each scene characters were carefully placed to ensure they could all be seen and heard and their actions were naturalistic and fluid.

Stage Manager and set builder Colin Fletcher, assisted by Jon Evans, brought us a beautifully evocative set that was cleverly designed to work very effectively for some complicated entrances and exits. The lighting by Frank Queripel and sound by Lisa Brockwoy helped to bring everything to life and really enhanced the production.

The costumes were pleasingly reminiscent of the period; Elvira's custom made grey gown, along with her ghostly make up, was perfect. Lindy Whittaker should be congratulated for her excellent work.

The play, although full of comedy, had moments of genuine tension, which built up at the end to the revenge of the ghosts and a climax of some very clever special effects. The last time I saw this play- performed professionally- it dragged somewhat because of its length: this one moved quickly and did complete justice to the genius of the playwright. This was one of the best productions I have seen from the Greasley Players and they should all be proud of what they have achieved.

I am glad to report that many in the audience gave the cast a standing ovation at the end, which was well deserved.

Beauty and the Beast
Nottingham Arts Theatre
December 2nd 2018

Written and Directed by Amanda Hall and Matt Wesson.Beauty and the Beast is a traditional pantomime about a young prince who is turned into a hideous Beast by an enchantress, because of his arrogant ways. He is destined to stay like that until he learns to love and be loved in return. Later, a village girl, Belle, enters the Beast's castle after he imprisons her father. With the help of his servants, Belle begins to draw the cold-hearted Beast out of his isolation and things begin to change.

This version is written by Amanda Hall, assisted by Matt Wesson, and maintains the traditional elements of the story, but with a number of excellent additions. It is witty and very entertaining with a script which is suitable for all ages. The very clever wordplay and one liners are a delight – listen hard, as they come thick and fast and must not be missed - and there is also plenty of slapstick and silliness for those who enjoy physical comedy.

An excellent cast is led by Laura Ellis Patrick, who plays the part of Belle, and Patrick McChrystal as the Beast (and the Prince). Laura has a lovely voice and plays Belle with a cheerful innocence and steely sense of right that endears her to the audience. Patrick takes his role very seriously and shows just the right amount of angst driven hostility that is gradually redeemed by finding love and humility. Both act and sing very well indeed and make a lovely couple!

They are well supported by Mike Newbold, a jovial and thoroughly convincing Alderman, alongside his other daughters, Camille & Adrienne, played by Kimberley Allsopp and Danielle Hall. Both sisters are delightfully self centred and amusingly arrogant, but charm with their lovely voices.

Lizzie Fenner is a splendidly imposing Enchantress with a beautiful voice; Sean Goodwin plays Idle Jacques with a cheeky charm, pleasantly coaxing the audience into participation and showing lovely comic timing. Cassie Hall is the scheming but comically bumbling Phillipe Phlopp and Alex Huntley delights the audience with his posturing as a dastardly, but hilariously self aware, Gustave.

Mike Pearson triumphs as the very elegant but silly Madame Yvette Éclair: a wonderfully Gallic Dame whose accent never falters. Joseph Smith is Hugo, the Beast's gardener, a fine example of not over egging a part, in a lovely naturalistic performance.

Matthew Wesson is the gorgeously over the top and captivating Dame Mimi Macaron: beautiful diction and projection and a very clever balancing of warmth with sharp, cutting edge wit. Both Dames show their talent and comic timing in a lovely interlude with small audience members, beautifully conducted to make the most of the humour, but with sensitivity.

There is an excellent ensemble, which includes singers and dancers of all ages. The exciting and varied choreography by Amy Rogers-Gee, is executed very well by the whole cast. There are many highlights, but I particularly enjoyed the Finale of Act 1, which was fantastic.

The talented and well rehearsed adult ensemble is Mike Bulford, Lucie Conroy, Serena Eadon, Tano Gangemi, Nikki Jarvis, Elissa Reeve, Emily Ridge, Amy Rogers-Gee, Destiny Mills, Alison Sheppard, Zoe Turton and Emily Wilkins.

There are two youth and children’s ensembles and tonight it was the energetic and very enthusiastic Team Croissant, consisting of: Daisy Donoghue, Emma Gregory, Madelyn Pritchard, Olivia Twiss, Elsie Archer, Hattie Champion, Naomi Hills, Emily Holder, Freya Ireson, Lily Watson, Megan Worall, Imogen Yates, Caitlin Young and George Young.

Tom Mowat’s lighting is carefully planned to be both dynamic and complementary: it certainly enhances the production throughout. Nathan Penney is to be congratulated for operating the lighting system so well and also Rob & Bethan Kettridge, for the enchanting red rose!

The standard of singing is very high and the Musical Director, Ray McLeod must have worked very hard with the cast to achieve this. The sound, supervised by Rob Kettridge, is crisp and clear and very well balanced with the musical track. I particularly liked the incidental music that has been included in this production. Amanda has chosen some great songs, which are well known and a big hit with the audience.

The costumes by Jules Sheppard, so essential to the spirit of pantomime, are very appropriate and attractive, especially the amazing costumes worn by the “Dames.”

This is an excellent production of Beauty and the Beast and I defy anyone who saw tonight’s production not to be impressed and delighted by the whole experience. Once again Amanda Hall and her talented team have a hit on their hands. It is wonderful in all respects and I loved every minute of it.

Well done everyone and thank you for starting my Christmas off with such an enjoyable evening at the Arts Theatre. The show is brilliantly crafted by Amanda and Matt and performed with such professionalism by this very talented and enthusiastic cast.

If you can only see one pantomime this Christmas, make sure it’s this one.

Robin Hood and the Babes in the Wood
Ilkeston Theatre Company
December 6th 2018

I really enjoyed the pantomime produced by The Ilkeston Theatre Company tonight in the St. John Houghton School Theatre. The cast were enthusiastic in their performances and there was a great sense of enjoyment both on stage and in the audience.

The hard working cast was Ben Mills (Nursey), Alfie Wilson (Ricky), Penny Courtney (Bianca), Rachael Flewitt (Robin Hood), Becks Macey (Will), Marilyn Lucia Keates (Alan), Justine Haywood (Marion),Adrian Thornley (Tuck), Mandy Bull (John), Paul Ensor (King Richard), Angie Jacks (Sheriff of Nottingham), Lucy Tanner (Bo), Sharon Ensor (Arry), Steve Walton (Prince John), Elena Courtney (Maisie), Sue Arkley, Lauren Adams, Jennie Walker (Ermin), Tracey Dean (Trude).

There was good singing, dancing and comedy routines. This was a traditional panto with all the essential elements of the genre including local references.

The set and costumes were excellent (Rachael Flewitt and Michael Wallace) and the company used the facilities of this venue including flying some of the scenery to excellent effect (Adrian Fletcher). The set was changed quickly which enabled the show to move at a good pace. The back stage crew including Tracey Dean and Ryan Fletcher worked very well and scene changes were good.

The sound was good and I was impressed with the way in which the performers could be heard without the use of radio mics. The sound was thus natural. The sound effects were very good (Steve Flavill and Louis Beardsley).

The whole cast numbers were well performed.

The dances by the Kerry Ledger School of Dance were wonderful. Their routines were choreographed by Kerry and Evie Ledger, Sophie Lynam and Megan Lynam. The dancers were Caitlin Bell, Niamh Bull, Lily Curtis, Megan Eardley, Maisie Hartshorn, Georgina Gallagher, Mia Gidlow, Miranda Holt, Bethan Moore, Alex Reeves, Jessica Reeves, Lucie Reeves, Robyn Richards, Jasmine Rowland, Charlotte Sisson and Scarlett Stevenson.

The show was produced by Justine Haywood and Paul Ensor who I am sure are very proud of their cast who have worked so hard to produce this good show.

Well done to everyone involved in this production.